Publication

  • May. 08 - June. 24, 2012
    Opening reception Thusday,  May. 8, 2012, 6pm
     
     
    “Whoever may hunt” is a story that starts with a phrase in a documentary film on animals ‘Whoever may hunt, they all share the food’ and ends with a phrase ‘One for all, all for one’. As
    we put sweet before nothing it means
    As we repeat the word ‘sweet nothing’ by putting the word ‘sweet’ before the word ‘nothing’, I worked believing the fact that everything what’s ours is yours could be beautiful.
    I felt sense of sorrow and guilt but I hope that this feeling won’t pass on.  yunhamin
     
     
     
     
    In 2012, Art Space Pool presents the solo exhibition of ¡¶yunhamin : Whoever may hunt ¡·(8 May-24 June) as the second exhibition of 'Pool Production'. Born in 1983, Seoul, yunhamin had started the series of the same title when being greatly touched by a phrase in a documentary film on animals, 'whoever may hunt, they all share the food.' This means everybody has a symbiotic, mutually influential power. Therefore, a community that allows its members to live together through hunting is an altruistic community where an individual lives for the group and the group lives for the individual. If we understand the groups of communities as the modern society, we wonder what this society looks like. Historians often use the hunting culture as the analyzing tool for studying life in the primitive days. The reason is that hunting is not simply an action to satisfy hunger but includes various phenomena related with social class, politics, economy, religion, etc. Therefore, yunhamin's notion of hunting does not comprise of simply collecting materials but of a process of outwardly expressing the gap between an ideal society and the modern society.
     
    First of all, the series Stained Glass (2012) has sprouted from the visit paid by yunhamin to a village where only its ruins are left due to urban renewal. The artist has picked up windows among the ruins and has copied maps onto these windows which are painted in pretty colors. In the maps drawn on the windows, we can find the places where we live in. However, these spaces are somebody else's at the same time as they belong to us. Furthermore, the space left with ruins is an empty space without any function until the completion of the renewal construction and this very moment alone allows us or them to be the owners of this left space. Perhaps, yunhamin has collected the windows out of reminiscence, resenting this empty space that will soon be filled with tall buildings. The artist must have felt the urge to decorate the windows, the hunted left space, by drawing maps and painting them. In the similar context, the series National Treasure (2012) again talks about empty space in the daily life of yunhamin. The so-called national treasures designated by the state are also ours and theirs. The artist has created the beautiful series by dividing the space expressed as national treasure with unclear image of it and the space without such treasure, through silk screen method. The images of the national treasures expressed by the silk screening are not printed on typical factory-made paper but are printed on daily products such as flower-print plastic bags, pleated cloth, etc. that can be easily found in everyday life. In our daily routine, we naturally leave things with traces of living on them. yunhamin feels another sort of empty space within these things with such traces. And in between these spaces, a pretty national treasure fills the gap. 
    With the aforementioned two series of work, we could now think about what kind of empty space yunhamin intended to express. An empty space for yunhamin is mutual influence that we encounter in a society. Mutual influence is given through communication. Modern society has a powerful mutual influence due to rapid development of communication technology. Despite such progress in technology, there are more cases of miscommunication than communication without problems and frequent incidents that make us feel despair rather than hope. While miscommunication spreads around the society, our mutual influence becomes somebody else's rather than becoming ours. The amount of progress achieved in communication technology has surely facilitated the mutual approach between the system and the public but it is unfortunate that the current system seems to artfully distort the public's intention or ignore it even more than the days of the military government. Therefore, the modern society perceived by yunhamin can be understood as the society lacking basic communication.
     
    yunhamin's last hunting reward One for All, All for one(2012) displays pretty fake clothes. Since they are imitations, creativity is not required. The labor and skill to make the fake clothes are simply visualized. The fake clothes in pretty colors make us cheerful but on the other hand, they make us feel a certain unknown sadness.
    In fact, the word 'pretty' in Korean has as its origin, the 15th century word called 'eo-yut-buda' meaning 'pitiful' rather than beautiful or cute. In the current society we live in, full of miscommunication than understanding, the artist's feelings formed while making pretty things pretty, somehow make us sad without knowing why. Nevertheless, yunhamin tries to show us and share with us the booty hunted down; hoping that all the empty left spaces that exist here and there in our lives could become beautiful. When we view these hunted materials in front of us, we could ponder on the meaning of one living for all and all living for one in the modern society and question whether this meaning gives us any meaningfulness.
     
    Taerim Hong (Assistant Curator, Art Space Pool)
     

Online

School

  •  

    2012. 05. 03 & 10. Thursday 7pm Art Space Pool

    2012. 05. 17. & 24. Thursday 7pm Peace Museum Superintendent of education

    Pool is inviting the network that has been sharing thoughts and topics and expecting to see prospects in the world to< visible listeners>. This time pool and space 99 has arranged a space where young artist can meet the senior artists, critics, and historians to discuss about the Yushin days’ time ambiance and the traces left over until today at every Thursday for a full month of May. This project will be the first project to start up the exhibition which will be at space 99.

     

    1st seminar, 2012. 05. 03. Thursday 7pm Art Space Pool

    Sung-dam Hong (Artist): Scholar in Art’s experience in Yushin

    Sung-dam Hong will be sharing the experiences of the scholars in art from the 1970s who is sensitive by nature which was from the Yushin period. Hong will be sharing a life of young art scholars who went through a life full of ups and downs by talking about the Yushin period, Gwanju citizen group, avant-garde public art, the leading role of operated spy incident.

     

    2nd seminar, 2012. 05. 10. Thursday 7pm Art Space Pool

    Hong-gu Han (professor at Sungkonghoe University): Seeing Yushin through image and keyword

    Hong-gu Han is an executive director at the Peace Museum. Han will be flying through a time machine with the young artists by sharing rich and vivid episodes and hundreds of images. Han is a humanist and is publishing serially at The Hankyoreh newspaper. Han will be helping the artist who weren’t able to experience the Yushin age to imagine a vivid backstreet life of Yushin time period by using his experience of meeting young artists while running Space 99.

     

    3rd seminar, 2012. 05. 17. Thursday 7pm Peace Museum Superintendent of education

    Jung-hun Kim (President at Seoul Foundation for Arts and Culture): Meeting Yushin at the 21st century

    Artist Jung-hun Kim will be untangling the deep scent of Yushin that is still remaining in our mind and body even after the democratization. As an artist, professor, and art administrator, as a free wanderer, Kim will be calling out the Yushin he has bumped into at the 21stcentury in Korean society, which is no longer a vestige and alive in the middle of Seoul.

     

    4thseminar, 2012. 05. 24. Thursday 7pm Peace Museum Superintendent of education

    Man-woo Park (Director at Nam June Paik Art Center): The artistic works of the period, the cursed heritage?, A new approach to a participated art

    Man-woo Park confronts the flow of art in the period. The traces struck by Yushin have become figure of public art in thin muse. The muse is still asleep even when the military dictatorship and public art has vanished today by twisting the entire body with capital dictatorship. The art is more painful when we are going through a rough time. How will the sensitivity of Korean art become alive again after it has become numb after the Yushin’s cursed heritage?

     

    A short overnight itinerary workshop part 2. (To be scheduled) 2012. 05. 27 ~ 28. (Location will be announced later)

    Workshop 2 is a meeting where the four speakers who intended the seminar come to distribute the inspiration. Jong-gil Kim, the Chairperson of operation at Space 99, Heejin Kim, director at Art Space Pool, Hong-hu Han, executive director at the Peace Museum, and more will be at the workshop eating and drinking while discussing the unfinished talks because of shortness in time.

    l This program is subject to “young artists in various genres who are interested Yushin and Korean society”. In principle, this program is for artists who are participating the , but grad students and students from art college may be invited by an additional request.

     

    Guidance for application

    Art Space Pool 02) 396 – 4805 soossu@altpool.org

    Peace Museum 02) 735 – 5811 peacemuseum@empal.com

    Finding Peace Museum http://www.peacemuseum.or.kr/intro/?spage=6

  • In 2012 Art Space Pool is starting a casual talk program called the (2012. 04. – 11) to give answers to questions that can be hard to absorb with a single speaker. Pool is planning to give a brake to an increased discipline without a doubt by introducing artists, critics, and curators whom is interlocking with reality of art and society. We hope that the listeners will share enthusiastic monitoring and feedback through self-organized research progress. Pool will also be providing references through archive, SNS and mail. The total process of the talk will be open to the public at the 'online pool spot' in homepage.
     
    2012. 4. 19 Thursday 5PM Art Space Pool
    warming up talk session #1 : Mary Ellen Carroll
     
    Mary Ellen Carroll(based in NY)’s career as a conceptual artist spans more than twenty years and a range of disciplines, from art to architecture, performance, and film. Her work interrogates the relationship between subjectivity, language, and power; at its core is a dedication to political and social critique. In the piece, prototype 180, the artist made architecture “performative” by structurally rotating a house and its surrounding land in the development of a suburb of Houston, Texas. Following the rotation, the house was rehabilitated to become an occupied structure that will be become an institute for the study of considered urbanism. In another piece, Federal, the artist shot the north and south facades of the Federal Building in LA for an entire day in 2003. Its documentation turns these high-level government agencies from watchers to the watched with their complicity. This screening is presented in conjunction with Carroll’s latest exhibition Federal, State, County and City (The Deferment of Impatience and Motor Responses to Being in California with Laura ‘Riding’ Jackson, Florence Knoll, Kruder and Dorfmeister, José Feliciano and Gertrude Stein) at Third Streaming Gallery, 10 Greene Street, in New York.
     

Archive

  • I. Project Descriptions
    is a 3 year (2010-12) research and development project that will result in a modern and contemporary Korean art criticism text archive, initiated by Art Space Pool, and developed in collaboration with Asia Art Archive (AAA) in Hong Kong as a contribution to the anthology project.
     
    ¥±. Project Objectives
    An archive, in any field, at any degree of specialty, is a starting, ending, and returning point of all activity. In exchange and collaboration between regions in art, an archive is a window, map and mirror of the regional context providing a general frame of reference throughout the whole course of inter-regional communication. Korean art, in this regard, has been exposed to the international art scene, only as temporary data, objects, and phenomena scattered around, rarely buttressed by the backbone of an archive, which functions to make the vibrant aesthetic narratives of the region like a myriad of dots in nowhere. aims to create the kind of archival content that includes information that is structured as a specific archive, rich with contextual knowledge, accessible to international viewers. as an archive will strategically focus upon art criticism texts, because art criticism is one of the best elements providing an overview of the intellectual history of the context of art in the region and at the same time, to facilitate contemporary utilization of the knowledge for various forms of application in art.
    An archive should be an open platform allowing and provoking interaction with itself, unless it wants to remain an archaic monument. An archive of art criticism texts particularly risks falling into the pitfall of prestigious historiography or art historical dictionary book. will be an archive with productive relevance to contemporary art practices, built by those who practice in the field on the border between global and local. The editorial board of this project should be those who are active both in and out of the local and global contemporary art scenes; and who maintain dual careers as critics and curators. Board members are responsible for building a bibliography of candidate’s texts; setting up a structure among the criticism according to the criterion of his/her perspective and selecting final texts; and writing a new essay about his/her selections. is a combination of an historical archive and a contemporary archive of new commissioned writings by multiple writers. In the end, builds an archive and interferes with the stolid ground of the archive by expanding a single historiographic narrative into a dynamic configuration of multiple perspectives.
     
    ¥². Project Line-up
    Project Director: Heejin Kim (Director of Art Space Pool)
    Project Curator & Editor: Yumi Kang (2012 Program, Independent Editor)
    Project Curators: Sohyun Ahn (2011 Program, Independent Curator)
    Jinjoo Kim (2010 Program, Independent Curator)
    Project Coordinator: Jiyoung Jung
    Editorial Board:
    Kim Jong-gil (Curator of The Gyeonggi Museum of Modern Art)
    Hyunjin Kim (Independent Curator, Curator of 2008 Gwangju Biennale)
    Sohyun Ahn (Curator of Nam June Paik Art Center)
    Geun-jun Lim (Art·Design Critic)
    Binna Choi (Director of CASCO Office for Art, Design and Theory)
     
    Proofread & Review : Kil Ye-kyung (Freelance Art Translator)
    Research Fellow: Sunghee Lee (AAA Researcher for Korea)
     
    Sponsors: Arts Council Korea (2010-2012), Seoul Foundation (2010), Foundation for Arts Initiatives (2012, TBC)
    Collaborating Partners: Asia Art Archive http://www.aaa.org.hk
    Comparative Contemporaries (A Web Anthology Project) by Asia Art Archive, Hong Kong & The Substation, Singapor
     
    ¥³. Project Timeline
    Jan. – Mar. 2012
    Conceptual Digest of the Archive by Researchers
    Copyright Clearance for Publication
    Text to Digital Conversion
     
    April – June 2012
    English Translation of 20 Highlighted Texts & 5 New Meta-Criticism Texts
     
    July – Sep. 2012
    Book Design and Book Launch (published by ‘forum a’, Seoul, Korea)
    Public Lecture Series <Pulse of Conflicts> (5 Sessions)
     

Publication

  • This piece carries experiences of 11 successful curators who have become to show their mediate ability to exhibit in their own way while skimming through an identity crisis. This book is message dedicated to co-workers and those who are planning to become a curator. The philosophy of exhibition that they have learned shows vivid realism in full intention.
    Curators in their thirties who are lively and experimentative, curators in their forties and fifties who conduct dynamically at home and abroad and curators in their sixties who has been handling large display spaces all actively participated in this writing critically to pursue transition in modern art has the same point of view to seek change in the world of art.
    Since the independent curators who aspire nonmainstream art, and curators from Netherlands, France, and New York are gathered together, the tendency, taste, and the way they work are altogether different. The point where they all open up and share their philosophy, methodology and experience to develop Korean art carries an important meaning.
     
    Editor: Hong-hee Kim
    Author: Hyun-jin Kim, Bit-na Choi, Heejin Kim, Sung-won Kim, Ji-sook Baek, Sun-jung Kim, Seung duk Kim, Frank Gotro, Young-jun Lee,  Man-woo Park, Doe-ryun Chung, Hong-hee Kim
    Publisher: Un-ho Kim
    Published by: Hangil Art
    The first edition and press: 24th Feb. 2012
    ISBN 978 – 89- 91636 – 69 – 9 03600
    Price: US $ 20
     
    Contents
    Hong-hee Kim – 11 curators and 11 visions
    1. Hyun-jin Kim – Riskiness and freedom
    2. Bit-na Choi – Facing the joint
    3. Heejin Kim – The most honest interview of my life
    4. Sung-won Kim – Forget the Curator
    5. Ji-sook Baek – Review of a curator story
    6. Sun-jung Kim – Everything that made me
    7. Seung duk Kim/ Frank Gotro – Curators, Curaptors, Predators
    8. Young-jun Lee – As the farmer plows a field
    9. Park Man-woo – Curator’s workplace
    10. Chung Doe-ryun – Reminiscence of the love of beauty
    11. Kim Hong-hee – Curator live of an artist
     
    Sales of publication inquiry
    Sooyeon Kim (executive manager)
    Tel. 02 -396 – 4805

Gugi salon

Network

  • This symposium, comprised of two panels, celebrates and contextualizes the launch of the Art Spaces Directory, published in conjunction with the 2012 New Museum Triennial: “The Ungovernables.” The Art Spaces Directory is an international guide to the sites where contemporary art and artists are nurtured, interrogated, and sustained. With detailed profiles of over 400 art spaces from ninety-six countries, this volume is a useful tool for artists, curators, students, and the general public. In addition, it includes a series of essays and discussions contributed by Víctor Albarracín, Reem Fadda and Christine Tohme, Stefan Kalmár, Naiza H. Khan, Catalina Lozano, Elaine W. Ng, and tranzit.org.

    Panel 1
    What can happen in these spaces that cannot happen elsewhere? What unique challenges do these spaces face? Is failure inevitable? Panelists include: Lia Gangitano, founder/director of PARTICIPANT INC, New York; Stefan Kalmár, executive director and curator of Artists Space, New York; Heejin Kim, director of Art Space Pool, Seoul, Korea; and Tobias Ostrander, chief curator and deputy director for curatorial affairs at the Miami Art Museum. Moderated by Eungie Joo and Ethan Swan.

    Panel 2
    This panel considers current attempts at working without a physical space, through online platforms and nomadic initiatives. Participants include: Lauren Cornell, Executive Director, Rhizome, and Adjunct Curator, New Museum, New York; Deana Lawson, co-founder/co-director, 68 Months Discussion Group, New York; Daniela Perez, co-founder, de_sitio, Mexico City, Mexico; and Sarah Rifky, founding director of CIRCA, Cairo, Egypt. Moderated by Eungie Joo and Ethan Swan.

    Participants:

    Lauren Cornell is the Executive Director of Rhizome and Adjunct Curator for the New Museum. Cornell oversees and develops Rhizome's programs, all of which serve to promote and contextualize art engaged with technology. Previously, Cornell worked as a curator and writer in London and New York. She worked on the Andy Warhol Film Project at the Whitney Museum and, from 2002–2004, she served as executive director of Ocularis, an organization dedicated to avant-garde cinema, video, and new media.

    Lia Gangitano founded PARTICIPANT INC in 2001, a not-for-profit art space on the Lower East Side of New York, presenting exhibitions by Virgil Marti, Charles Atlas, Kathe Burkhart, Michel Auder, and Renée Green, among others. Gangitano served as curator of Thread Waxing Space, New York, for four years. She is editor of Dead Flowers (2010) and the forthcoming anthology, The Alternative to What? Thread Waxing Space and the '90s. She has also served as a curatorial advisor for P.S.1 with exhibitions including Lutz Bacher, My Secret Life (2009).

    Stefan Kalmár is the executive director and curator of Artists Space. Previously, he has held positions as director of the Kunstverein München, Munich (2005-2009), director of the Institute of Visual Culture, Cambridge, UK (2000-2005), and curator of Cubitt Gallery, London (1996-1999). He has also worked with numerous artists on a range of projects including: a survey exhibition of the work of Allora & Calzadilla, the exhibition project "Beugung" with Wolfgang Tillmans, and the first European survey exhibitions of Hilary Lloyd and Duncan Campbell.

    Heejin Kim is curator and director of Art Space Pool in Seoul (2010–present), one of the most prominent and active alternative art spaces in Korea. Through exhibitions, collectively organized research labs, workshops, and publications, Kim has presented diverse projects that engage artists, local communities, and the public. As the former curator of Insa Art Space (IAS), Arts Council Korea (2006–2009), she has brought a number of Korean artists to global audiences, curating exhibitions at the New Museum and Museo Tamayo, Mexico City, among other cities.

    Deana Lawson is a photo-based artist born in Rochester, New York, and received her MFA in Photography from RISD in 2004. Exhibitions include New Photography 2011 at the Museum of Modern Art, New York, 2010 Greater New York at P.S.1, Rhona Hoffman Gallery, Chicago, Helene Bailly Gallery, Paris, and the Studio Museum, Harlem. Deana Lawson and Aaron Gilbert worked together in forming 68 Months discussion group in Brooklyn, a spin-off of the discussions held at Kara Walker’s 6 to 8 Months space in 2010. The 68 Months environment is free-form and non-hierarchal, and promotes an experimental dialogue outside of institutional and market spaces.

    Tobias Ostrander is the chief curator and deputy director for curatorial affairs at the Miami Art Museum. Prior to moving to Miami he worked for eleven years in Mexico City, first as the curator of contemporary art at the Museo Tamayo and then as the director of the alternative space Museo Experimental El Eco. Prior to living in Mexico he served as associate curator for the bi-national public art project inSITE2000 in San Diego and Tijuana. He has held additional positions at the 24th São Paolo Biennial, Brazil, El Museo del Barrio, New York, and the Brooklyn Museum.

    Daniela Pérez, co-founder of de_sitio, is an independent curator based in Mexico City. Between 2007–2011, she was associate curator at Museo Tamayo where she curated The Marquise Went out at Five…, I am a fe(MEN)ist, Chronicles of Absence, and The Line of the Volcano. Pérez has worked at the Museu de Arte Moderna, São Paulo, the New Museum, and Museo de Arte Carrillo Gil, Mexico. She has participated as jury for art prizes, collaborates on texts for art magazines, and has taught art courses at La Esmeralda and Soma. She holds an MA in Curating Contemporary Art, Royal College of Art, London.

    Eungie Joo is Keith Haring Director and Curator of Education and Public Programs at the New Museum, New York, curator of the 2012 New Museum Triennial, “The Ungovernables,” and co-editor of the Art Spaces Directory.

    Ethan Swan is Education Associate at the New Museum, New York, and co-editor of the Art Spaces Directory.

110-803 Jongno-gu, Googi-dong 56-13, Seoul, Korea I tel +82 2 396 4805 fax +82 2 396 9636 | altpool@altpool.org | © art space pool, seoul
The website production was made possible by the patronage of Haegyu Yang.